Wavedrum Voice Name List
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The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
Premium Blend: Middle School Percussion Curriculum Utilizing Western and Non-Western Pedagogy
Premium Blend: Middle School Percussion Curriculum Utilizing Western and Non-Western Pedagogy Bob Siemienkowicz Winfield School District 34 OS 150 Park Street Winfield, Illinois 60190 A Clinic/Demonstration Presented by Bob Siemienkowicz [email protected] And The 630.909.4974 Winfield Percussion Ensembles ACT 1 Good morning. Thank you for allowing us to show what we do and how we do it. Our program works for our situation in Winfield and we hope portions of it will work for your program. Let’s start with a song and then we will time warp into year one of our program. SONG – Prelude in E minor YEAR 1 – All those instruments The Winfield Band program, my philosophy has been that rhythm is the key to success. I tell all band students “You can learn the notes and fingerings fine, but without good rhythm, no one will understand what you are playing.” This is also true in folkloric music. Faster does not mean you are a better player. How well you communicate musically establishes your level of proficiency. Our first lessons with all band students are clapping exercises I design and lessons from the Goldenberg Percussion method book. Without the impedance of embouchure, fingerings and the thought of dropping a $500 instrument on the floor, the student becomes completely focused on rhythmic study. For the first percussion lesson, the focus is also rhythmic. Without the need for lips, we play hand percussion immediately. For the first Western rudiment, we play paradiddles on conga drums or bongos (PLAY HERE). All percussion students must say paradiddle while they play it. -
A Musical Analysis of Afro-Cuban Batá Drumming
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2019 Meaning Beyond Words: A Musical Analysis of Afro-Cuban Batá Drumming Javier Diaz The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2966 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MEANING BEYOND WORDS: A MUSICAL ANALYSIS OF AFRO-CUBAN BATÁ DRUMMING by JAVIER DIAZ A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2019 2018 JAVIER DIAZ All rights reserved ii Meaning Beyond Words: A Musical Analysis of Afro-Cuban Batá Drumming by Javier Diaz This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor in Musical Arts. ——————————— —————————————————— Date Benjamin Lapidus Chair of Examining Committee ——————————— —————————————————— Date Norman Carey Executive Officer Supervisory Committee Peter Manuel, Advisor Janette Tilley, First Reader David Font-Navarrete, Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Meaning Beyond Words: A Musical Analysis of Afro-Cuban Batá Drumming by Javier Diaz Advisor: Peter Manuel This dissertation consists of a musical analysis of Afro-Cuban batá drumming. Current scholarship focuses on ethnographic research, descriptive analysis, transcriptions, and studies on the language encoding capabilities of batá. -
©Studentsavvy Music Around the World Unit I Thank You For
©studentsavvy Music Around the World Unit I thank you for StudentSavvy © 2016 downloading! Thank you for downloading StudentSavvy’s Music Around the World Unit! If you have any questions regarding this product, please email me at [email protected] Be sure to stay updated and follow for the latest freebies and giveaways! studentsavvyontpt.blogspot.com www.facebook.com/studentsavvy www.pinterest.com/studentsavvy wwww.teacherspayteachers.com/store/studentsavvy clipart by EduClips and IROM BOOK http://www.hm.h555.net/~irom/musical_instruments/ Don’t have a QR Code Reader? That’s okay! Here are the URL links to all the video clips in the unit! Music of Spain: https://www.youtube.com/watch?v=_7C8MdtnIHg Music of Japan: https://www.youtube.com/watch?v=5OA8HFUNfIk Music of Africa: https://www.youtube.com/watch?v=4g19eRur0v0 Music of Italy: https://www.youtube.com/watch?v=U3FOjDnNPHw Music of India: https://www.youtube.com/watch?v=qQ2Yr14Y2e0 Music of Russia: https://www.youtube.com/watch?v=EEiujug_Zcs Music of France: https://www.youtube.com/watch?v=Ge46oJju-JE Music of Brazil: https://www.youtube.com/watch?v=jQLvGghaDbE ©StudentSavvy2016 Don’t leave out these countries in your music study! Click here to study the music of Mexico, China, the Netherlands, Germany, Australia, USA, Hawaii, and the U.K. You may also enjoy these related resources: Music Around the WorLd Table Of Contents Overview of Musical Instrument Categories…………………6 Music of Japan – Read and Learn……………………………………7 Music of Japan – What I learned – Recall.……………………..8 Explore -
Redalyc.La Historia Del Tambor Africano Y Su Legado En El Mundo
El Artista E-ISSN: 1794-8614 [email protected] Universidad Distrital Francisco José de Caldas Colombia Barriga Monroy, Martha Lucía La historia del tambor africano y su legado en el mundo El Artista, núm. 1, noviembre, 2004, pp. 30-48 Universidad Distrital Francisco José de Caldas Pamplona, Colombia Disponible en: http://www.redalyc.org/articulo.oa?id=87400104 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto La historia del tambor africano y su legado en el mundo The African drum’s history and its world inheritance Por: Martha Lucía Barriga Monroy Docente de la Universidad de Pamplona ¿No veis estos tambores en mis ojos? ¿No veis estos tambores tensos y golpeados con dos lágrimas secas? ¿No tengo acaso un abuelo nocturno con una gran marca negra, más negra todavía que la piel, una gran marca hecha de un latigazo? Nicolás Guillén (El Apellido, elegía familiar) Brilla mi voz como un metal recién pulido. Mirad mi escudo: tiene un baobab, Tiene un rinoceronte y una lanza. Yo soy también nieto, Biznieto, Tataranieto de un esclavo. Nicolás Guillén (El Apellido, elegía familiar) 30 Resumen Según diversos estudios de investigación, el origen del tambor es Africano, y se remonta a la prehistoria. El tambor llega a Europa a través de las migraciones de africanos y moros a Europa. Posteriormente, el tambor también penetra en el Nuevo Mundo, cuando los ejércitos conquistadores inician la colonización americana. -
The PAS Educators' Companion
The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr. -
Electrophonic Musical Instruments
G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 . -
African Drumming in Drum Circles by Robert J
African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle. -
Ensoniq Mirage Factory Disks I Compiled This List to Help Me Organise and Label My
Ensoniq Mirage Factory Disks I compiled this list to help me organise and label my own (muddled) collection of disks. I hope it is of use to others – please feel free to correct any mistakes I’ve made. I’m not sure of the chronology of these libraries, and my listings are not 100% complete. This does not cover 3 rd party disks . From memory, when you bought a Mirage you got two (maybe 3?) sound disks with it – these were the ones numbered 1.4, 3.2, etc. I’ve listed what I know of those. There was also a library numbered 1, 2, 3, etc. These went up to at least 23, maybe further? Again, I’ve listed what I know of those. Then a library starting 100, 101, 102. All I know for sure is the contents of 102. Finally there was a 30 disk library – A1-10, B1-10 and C1-10. I have listed these completely. As far as I can see, this library (still available at a stupid price from Syntaur as of Jan 2013) covers every library sample Ensoniq ever did for the Mirage. You’ll notice that some of the disks are duplicated, eg 12 is identical to B09. Other disks are made up from different ones – 23 is the Steel Guitar, Banjo and Fiddle from A06 with the Tremolo Mandolin from B06. LOWER UPPER A01 1 Ambient drums Ambient drums 2 Latin percussion Latin percussion 3 Vibraphone Vibraphone A02 1 Clavinet Clavinet 2 Electric Piano #1 Electric Piano #1 3 Drawbar Organ #2 Drawbar Organ #2 A03 1 Vocal Ta Vocal Ta 2 Vocal Doo Vocal Doo 3 Male Voices Female Voices A04 1 Stacked Strings Hi Strings – Bowed 2 Low Strings Hi Strings - Pizz 3 Low Strings Tremolo Hi Strings Tremolo -
Percussion Quartet 1.Mus
JULIÁN________________ BRIJALDO CONGANESS for Percussion Quartet www.julianbrijaldo.com [email protected] CONGANESS 5:00 INSTRUMENTATION Percussion I: Bongos Conga drum Tumbadora Percussion II: Vibraphone Marimba 4 Tom-toms Crash cymbal, Splash cymbal & China cymbal Percussion III: Vibraphone Marimba 4 Tom-toms Crash cymbal, Splash cymbal & China cymbal* Percussion IV: Glockenspiel Vibraphone 3 Timpani: 32,'' 26,'' 23'' * The percussion sets share intruments (See the suggested stage diagram) Performance Notes: . Percussion I has the leading role throughout the piece. It should not be overpowered by the other instruments at any moment. The tempo markings in parentheses are approximated. Ideally, the rhythmic flow should feel flexible. Any fermata should not last more than 5 seconds. The individual parts include an instrumental glossary. Duration up to the performers Square fermata: Duration in seconds is notated above the symbol Roll accelerando or ritardando independentely from the tempo indications for the ensemble. Program Notes: by Catalina Villamarín What makes a conga drum what it is? What gives it its distinctive round, earthy sound? Would it be possible to turn any instrument into a conga drum? CONGANESS plays with these questions, and sets out to make a conga drum out of the combination of all the instruments in this percussion quartet. The foundation of CONGANESS was the spectrographic analysis of the four strokes found in a conga-drum salsa pattern: a tumbadora open stroke, a conga-drum open stroke, a conga-drum slap stroke and a conga-drum muffled stroke. The most prominent frequencies of each of these sounds were approximated to the closest pitches available, becoming the palette of sounds with which the piece was built. -
Explore Music 7 World Drumming.Pdf (PDF 2.11
Explore Music 7: World Drumming Explore Music 7: World Drumming (Revised 2020) Page 1 Explore Music 7: World Drumming (Revised 2020) Page 2 Contents Explore Music 7: World Drumming Overview ........................................................................................................................................5 Unit 1: The Roots of Drumming (4-5 hours)..................................................................................7 Unit 2: Drum Circles (8-10 hours) .................................................................................................14 Unit 3: Ensemble Playing (11-14 hours) ........................................................................................32 Supporting Materials.......................................................................................................................50 References.................................................. ....................................................................................69 The instructional hours indicated for each unit provide guidelines for planning, rather than strict requirements. The sequence of skill and concept development is to be the focus of concern. Teachers are encouraged to adapt these suggested timelines to meet the needs of their students. To be effective in teaching this module, it is important to use the material contained in Explore Music: Curriculum Framework and Explore Music: Appendices. Therefore, it is recommended that these two components be frequently referenced to support the suggestions for -
Ludwig Musser Concert Percussion 2013 Catalog
Welcome to the world of Ludwig/Musser Concert Percussion. The instruments in this catalog represent the finest quality and sound in percussion instruments today from a company that has been making instruments and accessories in the USA for decades. Ludwig is “The Most famous Name in Drums” since 1909 and Musser is “First in Class” for mallet percussion since 1948. Ludwig & Musser aren’t just brand names, they are men’s names. William F. Ludwig Sr. & William F. Ludwig II were gifted percussionists and astute businessmen who were innovators in the world of percussion. Clair Omar Musser was also a visionary mallet percussionist, composer, designer, engineer and leader who founded the Musser Company to be the American leader in mallet instruments. Both companies originated in the Chicago area. They joined forces in the 1960’s and originated the concept of “Total Percussion." With our experience as a manufacturer, we have a dedicated staff of craftsmen and marketing professionals that are sensitive to the needs of the percussionist. Several on our staff are active percussionists today and have that same passion for excellence in design, quality and performance as did our founders. We are proud to be an American company competing in a global economy. This Ludwig Musser Concert Percussion Catalog is dedicated to the late William F. Ludwig II Musser Marimbas, Xylophones, Chimes, Bells, & Vibraphones are available in “The Chief.” His vision for a “Total Percussion” a wide range of sizes and models to completely satisfy the needs of beginners, company was something he created at Ludwig schools, universities and professionals.